A Quote by Mohit Raina
I didn't want to miss the chance of working in a film like Uri.'
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Actors basically are the type of person that with three seconds left, we want the ball. Give us the shot to make it or miss it. We'll take the lumps if we miss it, but we want the chance to get the glory.
I want to be cremated, and I want my ashes blown in Uri Geller's eyes.
I want to do more independent film. I'm blessed to be working on really quality episodic television, which to me actually feels like a sort of 13-hour film.
I love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.
I really didn't want to leave the show, but I got a chance to do a movie, which meant I would have had to miss two shows, and at the time Lorne had a policy where you can't miss shows, so I left.
A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.
I don't want anyone to ever put himself or herself in a box of, "I lost my second chance!" Because life brings you ebbs and flows, and if you miss out on this second chance, guess what, you're going to get another one if you decide that you're ready to have one.
I don't miss anything ever. Because to me, missing something is like going backward a little bit. I don't miss being in a punk band. For me, 'SNL' is like... this is gonna sound overly dramatic, but... the way I am, it feels like I'm a soldier, so it was like, 'What do you want me to do? Put me anywhere. Do you want me to do these sketches? Great.'
"Bruce" was an Eddie Murphy film, so there was a whole different vibe, working on that film, as opposed to working on a [Adam] Sandler film, which I'd done a few of. First of all, there were tons of kids running around. I'm surprised I ever had a kid after doing that film.
Normal adult shopping is something I will never actually do, because it's no more possible for me to go shopping like normal adults do than it is for a man with no legs to wake up one day and walk. I can't miss shopping like you'd miss things you once had. I miss it in a different way. I miss it like you would miss a train.
I don't want to miss out on the chance of having a good time.
It took me three, four years, to get from my first film to my second film, banging on doors, trying to get people to give me a chance. Writing, struggling, with no money in the bank, working as an editor on the side. Working as a cameraman on the side. Getting little jobs, eking out a living. Trying to stay alive, and pushing a script that nobody wanted.
I don't have any problem working with first-time directors because all directors have to start somewhere and all great directors have had a first film. So, if you take the view that you don't want to work with a first-timer, you might miss out on a fantastic opportunity.
I love working with Prada, I would do it all the time if I could. Working with them is like working on a film: it is very collaborative.
I like the idea of seeing a film that has the artist's hand in there,a film where you can see his strokes, you can see his working patterns. It's like going to a museum and seeing a Renoir drawing. You want to see their work and you want to see how they put it together. For me to see that in animation is really fresh, it's really exciting, it's really original.
The most frustrating part of working in TV and film is that you have to convince someone to let you make what you want; in comics you can do whatever you want and for 1% of the budget of TV and film.
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